Monday, October 27, 2014

Material: Metal (likely aluminum), held in place by grout,
alongside ceramic, glass, and recycled materials

Creator: Isaiah Zagar

Collection: Philadelphia’s Magic Gardens

To borrow the words of author James
E. Starrs, “Melancholy is incompatible with bicycling.” I couldn't agree more. For nearly a decade, I
have navigated the mean streets of Philadelphia by bicycle. Granted, I've had a
few collisions with slick trolley tracks, flat tires, and one stolen wheel, but
I wouldn't want to get around any other way. Not only is it environmentally
friendly and cost-effective, cycling awakens my mind, gets my blood pumping,
and the keeps my spirits high. Bicycling is my therapy.

Visiting
Philadelphia’s Magic Gardens (PMG) this week, I had the pleasure of sitting
down with museum staff and the artist, Isaiah Zagar. For Zagar, the creation of
the mosaicked wonderland was 12 year act of therapeutic artistry. One object included throughout Zagar’s work that particularly resonates with me is the bicycle wheel.

The wheels in Zagar’s work at PMG are
composed of a round aluminum rim, a series of wire tension spokes, a metal hub
at the center. Some perch like gargoyles along the tops of the sculpture
garden, while others are integrated into the walls, like windows. The wheel’s
strong circular form stands in contrast to the geometric shapes that encompass
most of the other mosaic tiles, and the natural shapes of the bottles and
ceramic folk art. Wheels are also represented in two dimensional forms,
painted onto tiles, and included in series of Zagar’s drawings currently on
display. In addition to providing visual
interest, wheels often symbolize a cycle or repetition, as well as health
and strength. Perhaps they represent Zagar’s own healing, or the revitalization
of the neighborhood. Like most materials in the space, each bicycle wheel is
grouted into place. While individual objects, they are pieces of a larger, magnificent
structure.

Curiosity Wheel

As a frequent PMG visitor, I have
admired the bicycle wheels, but I never knew where they came from, or why they
were used. Since my last visit, PMG has installed a “Cabinet of Curiosities”
in its center gallery, which through a variety of objects, images and reading
materials invites visitors to learn more about PMG, Zagar, and the mosaic
process. A small red wheel immediately caught my eye. As the attached text
label notes, Isaiah incorporates bicycle wheels into his work because they
create a strong, circular form, without obstructing light. What’s more, these
wheels were donated to Zagar by Via Bicycle, a shop just down the street. The label is presented in a narrative museum
voice. Rather than simply stating facts, the label poses a question, “What
other recycled materials do you see in the space?” which encourages visitors to
be actively explore, rather than just accumulate facts.

It’s true, I thought, as I wandered throughout the sculpture
garden on this particularly dreary afternoon, the wheels above me formed little
windows into the sky, and the lower ones were portals from which to peer into
the cavernous space. How appropriate, I thought, that the wheels were acquired
through a neighboring business; the sculpture garden was an effort to beautify
and revitalize the neighborhood, and this is great example of how the community
has contributed to this vision.

In addition to the owners
of Via, who may see themselves reflected in Zagar’s work, the wheels might also
be important to cyclists, advocates of recycling and creative reuse, those
interested in community revitalization, and artists and patrons of visionary
art spaces. As a familiar object that has been transformed into art, I would assume
that most of PMG’s general audiences appreciate the wheels.

A glimpse of The Heidelberg Project

To better understand Zagar’s use of wheels, one could explore
visionary art environments, folk art, mosaics and murals. One visionary art
environment that I was fortunate to visit a few years ago was The Heidelberg Project in Detroit, Michigan. One could also trace the
history of wheels back to the Bronze Age ,
or explore wheel symbology found in religions such as Buddhism.

While it is unlikely that the bicycle wheels stir up much
controversy, individuals who are offended by Zagar’s visual and textual
depictions of nudity may likely be disinterested in his body of work. It’s
possible that other individuals might simply find PMG to be too visually
overwhelming. Going further, it is plausible that someone could pass by the
museum and mistake it as a junk yard, or the home of a hoarder. From this point of view, the reaction might
be, ‘What an eyesore. This wacko can’t even let go of old bicycle wheels and
broken ceramics!’

To further engage visitors, I would partner with Philly Bike Tours create a bike tour that
explores Zagar’s murals throughout the city.
Along the way, the tour would also visit The Resource Exchange, a local
organization that promotes recycling and creative reuse, and Neighborhood BikeWorks, an organization that teaches and promotes bicycle building, repair and
safety.

This was a particularly memorable visit to PMG. At the helm of my bicycle riding away in the
rain, I was reminded of how bicycle wheels, whether for art or transport, make
me happy.

Tuesday, October 21, 2014

Year: 199-100 BCEMaterial: Carved Marble (Stone)Creator: UnknownCollection: University of Pennsylvania Museum of Archaeology and AnthropologyMarble nudes rarely captivate me. Entering the Rome Gallery, however, a small stone figure with a flipped-up skirt caught my eye. Here was Hermaphroditus, the deity of unions, androgyny, marriage, sexuality, and fertility, in all his glory. Or was it her glory?Presented in a narrative museum voice, the accompanying text explains that Hermaphroditus was the son of the gods Hermes and Aphrodite, after whom he was named. Attracting a nymph admirer, who prayed for her body to be joined to his, Hermaphroditus became a hybrid human with both female and male characteristics. Among the many sculptural depictions of Hermaphroditus, the Louvre's Sleeping Hermaphroditus may be the most well-known.

Sleeping Hermaphroditus, The Louvre, Paris

While I am uncertain of how this item was acquired, among the 30,000+ items within the museum’s Mediterranean collection, many objects were acquired through Individual purchases or gifts, or through collections that were deeded to the institution. As a sculptural representation of a Greek Deity, this object is important to art historians, scholars and students of religion and Classics and anyone with a curiosity about ancient civilizations. It might also appeal to individuals with an interest in gender and sexual identity, like me.It seems appropriate that this classical Roman stone sculpture object would be on display in the Rome Gallery among other marble sculptures that represent this period and culture. While most marble heads, bodies and busts appear static; this sculpture seems to be captured in motion. What’s more, this movement, the flipping up of dress, reveals something personal (and potentially controversial) about the object’s sexual identity: its genitals. Presented in a small glass case on a pedestal, this statue of a deity pairs nicely with an adjacent panel and coin collection about Deified Virtues. During the development of the Roman Republic, the introductory text summarizes, “a series of abstract, socially positive qualities were elevated into state-sponsored cults and provided with temples. Some had affinities with pre-existent Greek cults, while others were tied to purely local circumstances and events.” Libertas, for instance, is the personification of Liberty, and is presented on a coin as the silhouette of a woman with jewels in her hair.

Libertas

It’s interesting to consider what iconography might be used to depict a modern-day Libertas...Firearms? The Starbucks logo? An iphone?While our country is slowly getting itself together in terms of certain liberties, (Over 64% of Americans will soon reside in a state where same-sex couples have the freedom to marry), and sexual identity, rarely is intersex part of the public discourse. There is a spectrum of sex types beyond common definitions of “female” and “male,” and about 1 in 2000 babies are born intersex. The term “true hermaphrodite” refers to an individual who is born with both ovarian and testicular tissue, regardless of if and how this tissue functions physiologically. This describes some intersexed individuals, but others may not have any external indications. I’m not an expert, but its related to the wide possibilities

of chromosomal make-ups. What I do know, is because of their “otherness,” people born with anatomy that does meet a culture’s normative of “male” and “female” can face a lot of hardship. And that’s not okay. Wow, who would've thought that a small marble sculpture could incite this energy and engagement? This is probably a good time to note that this object may not be appropriate for school groups. While young people could and should be included in challenging conversations, during a museum tour with a bunch of their peers may not be the time and place (and could upset a lot of parents). In fact, I learned that the museum's Director of Education made sure that the sculpture be positioned within the gallery in a way that would allow for it to be easily bypassed by school tour groups.Adherents of strict gender and sexuality norms would also not be interested in this object, although I wouldn't mind engaging them in a healthy debate. Opposing views might argue that the character in this statue was formed out of an ancient myth and does not and should not have any relevance to modern life. Or, one might argue that intersexuality is somehow unnatural and immoral;this sculpture represents how sexual deviancy was an underlying cause for the fall of ancient empires.

One could further explore this object through the lense of history, mythology, orclassical sculpture, but I'd personally take a different approach. In Hermaphrodites and the Medical Invention of Sex, author Alice Dreger discusses how the term “true hermaphrodite” was used derogatorily during Victorian times in attempts to make intersexuality disappear. Another book, Bodies in Doubt: An American History of Intersex by Elizabeth Reis might be another good place to learn more about sexuality and medical ethics. The Intersex Society of North America is another great resource. Seeing that the museum already actively engages Penn students and faculty, I might create a program that caters to courses offered within the Gender, Sexuality and Women’s Studies department. Students would learn about intersexuality through pre-visit readings and class discussions. During a museum visit, students would be led through inquiry-based activity focused on the sculpture and other objects in the collection (I’m sure there are many) that are atypical depictions or ideas about gender and sexuality.I am hopeful that someday intersexuality will be better understood and embraced by our culture. Until then, Hermaphroditus can serve to inspire thoughtful dialogue about the issue, just by hiking up his skirt.

Once a tree, now a rock, this beautiful hunk of
petrified wood has undergone quite a transformation over the last, oh, 200
million years or so. Petrified is from the Greek rootpetromeaning "rock" or
"stone;" literally "wood turned into stone." Basically,
this tree slowly morphed to stone through permineralization, a process that
occurs when a tree’s interior is replaced by the minerals from the surrounding
soil, but the shape of the tree remains. It is now a fossilized version of its
former self.

In order for this to occur, there must be some
ideal conditions. A tree falls. It becomes buried in sediment, creating an
oxygen-free environment, which prevents the tree from decomposing. As time
passes, minerals in the surrounding sediment enter the tree’s cells. These cell
walls decay and are replaced by a stone mould, often silica-quartz. Make sense?
My grandfather was a geoscientist, but I unfortunately did not inherit his science
smarts, so if you need a more thorough explanation, check thisout.

This
object was given to the Wagner Free Institute of Science by John Goodhart Rothermel, who directed the
Institute from 1903-1924. An avid explorer and collector, he contributed many
specimens to the collection. Rothermel
discovered this specimen during a visit to Arizona’s petrified forests the
summer of 1915, shipped it back to the Institute, and it was been on display ever
since. The area where this specimen was found was declared a National Park in 1962 (appropriately named, The Petrified Forest National Park) and is considered to have one of the largest, most
colorful collections of petrified wood in the world.

Geologists,
archeologists, naturalists, environmental biologists, artists, National Park Rangers and Park visitors might all be interested in this object. Knowing
of my love of old trees and National Parks, a friend had told me about it prior to my visit, so I was on the prowl. I looked and looked (and even
asked a staff member who didn't seem to know what "really old tree" I
was talking about). Just when I was about to give up, there it stood, in the
southeast corner of the room, hiding under a staircase.

This object is
presented in a glass case that sits atop a wooden stand. While there are other
fossils from trees and other plants in a case far across the room,
this one stands alone. Nearby cases include shells, many of which William and
Louisa Wagner collected on their honeymoon. Just as the tree was once alive
with roots and cells and leaves, these shells formerly contained a fragile, living
creature inside. Large birds (also formerly living creatures) and nests are
also within view. One could make an association between these animals and
this ancient tree, as many birds call trees home. Given its origins in the
Petrified National Forest however, any modern birds would not yet have existed
when this tree stood, but perhaps a fewtheropoddinosaurs hung out in its
branches?

As
you can see from the images above, this object is accompanied by very little
descriptive text. If the label did not identify this specimen as petrified wood,
visitors, particularly those without a strong science background, might form a
different narrative about this object. One might assume it has “always” been a
rock. Without an understanding of how rocks are created, one might guess that
this pretty rock was formed within the last few centuries. While its beauty is
apparent, its age and compelling narrative are not obvious to the average
viewer. Independent research and/or insights from an expert (such as the Wagner’s
Archivist) are useful in order to fully appreciate this specimen. Unfortunately,
without one or both of these information-gathering methods, many visitors might
not express an interest in this object or at the very least, overlook it
because of its placement within the gallery.

To enrich my understanding, I could read more about the Petrified Forest National Park online, or check out Petrified Forest: A Story in Stone by Sidney Ash or When Wood Turns to Stone: The Story of the Arizona National Petrified Forest by

K.S. Tankersley. It might also be fun to explore other species that likely existed during this tree's life.

Researching online, I was interested to learn that this object was highlighted through a special program in September of 2011, as part of the International
Year of Forests. During “Fantastic Forests,” visitors could participate in an
interactive natural history lesson, a forest-themed scavenger hunt and outdoor
activities in the pollinator garden. Attendees learned about types of forests and their
surrounding ecosystems, why they are important, and how they can be protected.
Personally, I would like to declare every year to be an International Year of
Forests and would implement a program similar to “Fantastic Forests” on a
permanent basis. Knowing that this institution sees a primarily urban audience,
I would also create a special program about the importance of city trees.
Collaborating with The Pennsylvania Horticultural Society and Tree Philly, this
event could include a presentations and interactive demonstrations about tree
identification, tree care, and how to plant street and yard trees. In advance
of the event, participants could sign up for a free street or yard tree and
pick it up at a nearby location in Fairmount Park after the event (of course, this would
take a lot of coordination).

While the scientific processes that transformed this wood to stone are a little complicated for me to comprehend, its beauty speaks for itself. I am eager to see more. Next stop, The Petrified Forest National Park.

Rather than hone in on a single object this week, I’d like
to tell you about a corridor of things. Decorated with pictures, lined with doorways that
lead to little rooms, full of voices, this hallway may be reminiscent of a passage
in your own home. However, I’m describing Cellblock 4 in Philadelphia’s
Eastern State Penitentiary (ESP), the home to prisoners of times past.

Entering the cellblock, visitors are prompted to begin the
audio tour, Voices from Eastern State
Penitentiary. Scattered along the length of the cellblock, large
photographs hang alternately on both sides of the walls. In between the images
visitors can peer into the individual cells, each in a state of ghostly ruin. Presented as a series of oral histories, the
audio tour deepens the visitor experience. Let me explain how this works.
Approaching the first image in the exhibit, one sees a photograph of a former
inmate being fingerprinted in 1954. Written above the image reads the text, “I
think I was there about three weeks, and then I went Four Block.” Listening
through headphones, this text is the first line of former inmate, Maurice
Talley’s oral history. The audio continues, allowing time for the visitor to listen,
study the image, and peer into the nearby cells. Throughout the hallway, the
text included with each image mirrors the first line of a new oral history,
which cues the visitor into what images and audio correspond. Realistically, I assume some visitors do not listen to the audio. Please
do. It'll make for a much richer, contextualized experience.

“I think I was there about three weeks, and then I went Four Block...”

"And we had television on the blocks at certain times..."

The images originate from a variety of sources, including
the Temple University Libraries Urban Archives, Eastern State Penitentiary’s
collection and gifts from individuals. Most of the audio was captured by Hal
Kern and Associates in 1992 and 1993. Documenting daily life, these visual and
oral stories tell of playing baseball and getting jobs assignments, to prison
violence and the psychological effects of imprisonment. In some sense, the
narratives stand in sheer opposition to each other; the narrative is perplexing
and inconsistent. One after another, the depilated cells stress the stark reality of solitary confinement, while the images and interviews juxtapose the equally playful and terrifying experience of daily life. By design, these tonal shifts provoke visitors to reflect on
the realities of incarceration.

"If you hit a guard at that time..." "At the time I thought this was a real horror..."

The exhibit in Cellblock 4 may be important to individuals and organizations interested in the history of the American justice system, as well as those concerned with social issues like incarceration, racial disparities and violence. Scholars and enthusiasts of architecture, historic preservation, photography, and oral histories would also value this place. As their loved ones are memorialized here through image and word, this cellblock is also significant to the surviving loved ones of former inmates and guards. Each interviewee is recognized in a final panel.

Final Exhibition Panel

Exploring the Temple University's Urban Archives might shed
some more light on the ESP narrative. ESP also has a wonderful list of
resources available on their website.
Political Activist and Scholar Angela Davis has written a lot about
incarceration and racism (I was fortunate to hear her speak several years ago)
like this one.

Because of its pacing and content, Cellblock 4 would likely
not be of interest to younger audiences, or anyone desiring a more interactive
experience. These visitors will be more drawn to the spaces that include artist
installations, cells that one can step inside, and “celebrity cells.”

Quite honestly, I wouldn't change anything about the
Cellblock 4 experience. If pushed, however, I might consider taking the oral
histories a step further, and providing visitors with access to the full
transcripts from the interviews with former inmates and guards. This could be
provided online, or a few printed copies could be available to read within the
cellblock.

Each corridor within The Eastern State Penitentiary reads
like a different chapter of a larger narrative; one focuses on the 19th century
establishment, another addresses issues of gender, sexuality, some highlight
famous inmates, like Al Capone, and others portions are dedicated to
interpretive installations presented by individual artists. Most importantly,
this story isn't over. The United States
currently has the highest incarceration rate in the world. Something has to
change.